WELLINGTON MUSICAL UNION

New Zealand Times, Volume XXX, Issue 6652, 28 October 1908, Page 9

WELLINGTON MUSICAL UNION

THIRD CONCERT OF THE SEASON, Tho Wellington Musical Uiaion’a third concert lor tho present season was given last evening at- tho Town Hall, m tho presence or a largo audience, which, however, was not so largo us rbo quality of the progutmmo and the character of the music presented deserved. The concert was remarkable for several reasons. One was that the union, for tho first time, found iteclf during tho performance of different works under tho guidance of uo losa than throe different conductors. Tliq baton was taken in hand by Mr Robert Parker, the regular musical director of the union, for tho first programme number. Sir Charles Viliion itaiiiuru's musical setting of Tennyson's well-known poem “ Tho , Re. venge,” but the instrumentalists wild supplied the orchestral parts to (itreiga A minor concerto wore under the direction of air Leslie Pock, of \\ auganui, and both chorus and band were conducted in Mr Thomas F. Dunhill ’4 choral ballad, “Tubal Cain"—a clover expression of Gerald Massey’s . poetic thoughts in musical terms—i-by tho composer, who, it happens, is now on a brief visit to Wellington in his capacity as examiner for tho Associated ‘ Board of the R..A.M. and 8.0. M., and, further, the occasion was specialised by tho first appearance of a now toned singer, Mr Charles H. Stephens, whe has but recently arrived in Wellington. The opening number'was Stanford’s strangely weird composition, “ The Revenge.” It is a work abounding in musical graces, yet one which leaves the hearer in a. somewhat mixed frame of mind,- and not altogether with feel-: mgs of entire .satisfaction. Much of the long-drawn-out sentences are monotonous, and of comparatively little interest. Indeed, if it were not for the undeniable fact that now and then there come in little bursts of musical magnificence like tiny green oases in a dreary dust-brown desert of polyphony, the composition would “ go foi nothing.” The other choral number, “Tubal ■Gain," is a work of quite a dif- : ferent character. And it seemed to be one which evoked more sympathy with, the orchestra and vocalists and also with the audience. In, this composition Mr Dunhill lias not striven after the super-eminent. He has in a decidedly musical fashion expressed his views, but in comparatively simple language—language that everyone caii understand without explanation. Mf Dimliill is tuneful throughout his choral ballad, but although it is fairly hng ho is never commonplace. There is nothing in his music of the kind that has been described as “ correctly dull and regularly low.” „ Miss Phoebe Parsons has never been hoard to better advantage than lost evening in Beethoven’s splendid recij tative and scena, “Ah, Porfido,” which she sang in Italian. , The music is entirely adapted to her voice. Her intonation was poi-foct, and her enunciation irreproachable. It is not neoesi sary to say that the applause following this number was loud and prolonged. Mr Charles H. Stephens, if he remains in Wellington, will he a distinct acquisition to tho ranks of out vpoa! soloists. His voice is tenor, light' in tone, but with a remarkably lino carrying quality', and it is well under control. His softest notes could bo hoard with distinctness at tho extreme end of Hie hall, and his every word could bo closely followed. He introduced a delightful song-cycle, “ The Window,” the-words of which were written by Lord Tennyson, at the request of Arthur S. Sullivan, away back in 1863, when, according to the programme note," it was intended that, words and music should be pictorially illustrated by the late Sir John Millais, R.A., so that the work might form “ a combination of Poetry, Painting, and Music,” but the paintings were never completed. Tho cycle proved to be a very : acceptable addition to the programme, for tho music is in Sullivan’s happiest vein. It was very beautifully sung and loudly applauded. ' . Another fine number was Greig’s concerto for piano and orchestra. Mr T. F. Dunhill took the piano, and at orice convinced his audience that he is a soloist of high standing. Ho has nonb of the thunderous forcefulness which is one of Hambourg’s outstanding characteristics, but his execution is "brilliant, and his methods entirely artistic. The orchestra and their conductor, Mr Peck (who was a follow, student with Mr Dunhill at the R.A.M.), are to bo congratulated upon the assistance which they rendered to the soloist. • ■